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Municipal budget preschool educational institution"Kindergarten of general developmental type No. 30" of the urban district of the city of Salavat

Republic of Bashkortostan

Creative report

Development of creative abilities of preschool children through theatrical activities

Prepared

teacher Kunakkulova S.M.

Salavat 2016

Introduction

I . Theoretical part.

1.1 The concept of “creativity” and “creative abilities”.

1.2

1.3 Conditions for the successful development of creative abilities.

1.4. The role of the influence of theatrical activities as a means of developing the creative abilities of preschool children

II . Practical part.

Conclusion

Bibliography.

Application

Introduction

Currently, the question is increasingly being raised that it is necessary to use all available pedagogical resources for effective development child. Modern pedagogical science, looking at education as reproduction spiritual potential person, has various areas of educational influence on the child. The sphere of art is considered as a space that contributes to the formation of social and aesthetic activity of the individual. According to modern scientists studying the problems of preschool education, the disclosure internal qualities personality and the self-realization of its creative potential are most facilitated by the synthesis of arts.

This view of raising a child made actual problem education and upbringing of preschool children by means theatrical arts how powerful synthetic agent development of their creative abilities.

L.S. Vygotsky, B.M. Teplov, D.V. Mendzheritskaya, L.V. Artemova, E.L. Trusova. R.I. Zhukovskaya, N.S. Karpinskaya, etc.)

The art of theater is an organic synthesis of music, dance, painting, rhetoric, acting, concentrates into a single whole the means of expression available in the arsenal individual arts, thereby creating conditions for the education of a holistic creative personality, contributes to the achievement of the goal modern education. Theater is a game, a miracle, magic, a fairy tale!

The child is given the opportunity to play the role of an actor, director, decorator, prop maker, and musician. Making props, scenery, and costumes provides an opportunity for children's visual and technical creativity.

Working with children, I noticed that children participating in a theatrical production quickly become emotionally liberated, their tension disappears, and they become more sociable.

A new role, especially the dialogue of characters, confronts the child with the need to express himself clearly, distinctly, and intelligibly. His dialogical speech and its grammatical structure improve, he begins to actively use the dictionary, which, in turn, is also replenished. The love for theater becomes a vivid childhood memory, a feeling of a holiday spent together with peers, parents and teachers in an unusual magical world. Theatrical activities create conditions for the development of creative abilities. The large and varied influence of theatrical activities on a child’s personality allows them to be used as a strong but unobtrusive pedagogical tool, since the child himself experiences pleasure and joy.

It is theatrical activities that are a unique means of developing the artistic and creative abilities of children.

I . Theoretical part.

1.1 The concept of “creativity” and “creative abilities”.

Analysis of the problem of developing creative abilities will largely be determined by the content that we will put into this concept. Very often in everyday consciousness, creative abilities are identified with the ability to various types artistic activity, with the ability to draw beautifully, write poetry, write music, etc. What is creativity really?

It is obvious that the concept under consideration is closely related to the concept of “creativity”, “creative activity”. Creative activity should be understood as such human activity, as a result of which something new is created - be it an object of the external world or the construction of thinking, leading to new knowledge about the world, or a feeling reflecting a new attitude to reality.

If we carefully consider a person’s behavior and his activities in any field, we can distinguish two main types of actions. Some human actions can be called reproductive or reproductive. This type of activity is closely related to our memory and its essence lies in the fact that a person reproduces or repeats previously created and developed methods of behavior and action.

In addition to reproductive activity, there is creative activity in human behavior, the result of which is not the reproduction of impressions or actions that were in his experience, but the creation of new images or actions. This type of activity is based on creativity. Thus, in the most general form, the definition of creative abilities is as follows. Creative abilities are individual characteristics qualities of a person that determine the success of his creative activities of various kinds.

Since the element of creativity can be present in any type of human activity, it is fair to talk not only about artistic creativity, but also about technical creativity, mathematical creativity, etc.

1.2. Forms of organization of theatrical activities. Creative games preschoolers.

The effectiveness of children's theatrical activities and the creation of original stage images are determined by the degree of readiness of the preschooler for them.

A child’s readiness for theatrical activities is defined as a system of knowledge and skills that ensure the possibility of joint activities to create a performance and the child’s comfort at all its stages. This system includes: knowledge about the art of theater and an emotionally positive attitude towards it; skills that allow a preschooler to create an image in accordance with stage task; ability to build stage image actors; practical skills in carrying out one’s own stage activities, building pedagogical support taking into account the gradual increase in independence and creativity of the child; implementation of play plans by children. (S.A. Kozlova, T.A. Kulikova)

- exercises for children's social-emotional development;

- dramatization games.

A huge role in organizing theatrical activities is played by the teacher, who skillfully guides this process. It is necessary that the teacher not only read or tell something expressively, be able to look and see, listen and hear, but also be ready for any “transformation”, that is, master the basics of acting, as well as the basics of directing skills. This is what leads to an increase in his creative potential and helps to improve the theatrical activities of children. The teacher must strictly ensure that with his acting activity and looseness he does not suppress a timid child and does not turn him only into a spectator. We must not allow children to be afraid to go “on stage” or to be afraid of making mistakes. It is unacceptable to divide into “artists” and “spectators,” that is, those who constantly perform and those who constantly stay to watch others “play.”

- development of creative abilities and creative independence

preschooler;

- development of all components, functions and forms of speech activity

Creative games as a type of theatrical activity.

Classification of creative games.

The game is the most accessible to the child, interesting way processing, expression of emotions, impressions (A.V. Zaporozhets, A.N. Leontiev, A.R. Luria, D.B. Elkonin, etc.). Theatrical game - effective remedy socialization of a preschooler in the process of his comprehension of the moral subtext of a literary work, a favorable condition for the development of a sense of partnership, mastering methods of positive interaction. In theatrical play, children get acquainted with the feelings and moods of the characters, master methods of emotional expression, self-realization, self-expression, get acquainted with the world around them through images, colors, sounds that contribute to the development of mental processes, qualities and personality traits - imagination, independence, initiative, emotional responsiveness. Kids laugh when the characters laugh, feel sad and upset with them, can cry over the failures of their favorite hero, and always come to his aid.

Most researchers come to the conclusion that theatrical games are closest to art and often call them “creative” M.A. Vasilyeva, S.A. Kozlova,

D.B. Elkonin.

E.L. Trusova uses synonyms for the concepts of “theatrical play,” “theatrical play activity and creativity,” and “dramatization play.” Theatrical play retains all the structural components of the plot-role-playing game identified by D. B. Elkonin:

role (defining component)

game actions

playful use of objects

real relationships.

In theatrical games, the game action and the game object, costume or doll, have higher value, as they facilitate the child’s acceptance of the role that determines the choice game actions. Characteristic Features theatrical games are literary or folklore basis content and presence of viewers (L.V. Artemova, L.V. Voroshina, L.S. Furmina, etc.).

In a theatrical play, the image of the hero, his main features, actions, and experiences are determined by the content of the work. The child's creativity manifests itself in true portrayal character. To do this, you need to understand what the character is like, why he acts this way, imagine his state, feelings, and be able to analyze and evaluate his actions. This largely depends on the child’s experience: the more diverse his impressions of the life around him, the richer his imagination, feelings, and ability to think. Therefore, it is very important from the very early age introduce the child to music and theater. To captivate children with art and teach them to understand beauty is the main mission of the educator and music director. It is art (theater) that awakens in a child the ability to think about the world, about himself, about responsibility for his actions. The very nature of theatrical play (showing a performance) lies in its connections with role-playing game(playing theater), which makes it possible to unite children with a common idea, experiences, to unite on the basis interesting activities, allowing everyone to show activity, creativity and individuality. The older children become, the higher the level of development, the more valuable theatrical play (pedagogically oriented) is for the development of amateur forms of behavior, where it becomes possible to outline the plot themselves or organize games with rules, find partners, and choose means to realize their plans (D.V. Mendzheritskaya).

Theatrical games of preschoolers cannot be called art in the full sense of the word, but they are approaching it. B.M. Teplov saw in them a transition from acting to dramatic art, but in an embryonic form. When performing a performance, the activities of children and real artists have a lot in common. Children are also concerned about impressions, the reaction of the audience, they think about the impact on people, they care about the result (as depicted).

In the active pursuit of creative performance lies educational value theatrical games (S.A. Kozlova, T.A. Kulikova).

Unlike a theatrical production, a theatrical play does not require the presence of the viewer, participation professional actors, there is sometimes enough external imitation in it. By attracting the attention of parents to these games, emphasizing the child’s successes, one can contribute to the revival family tradition devices home theater. Rehearsals, making costumes, scenery, invitation tickets for relatives unite family members, fill life with meaningful activities and joyful expectations. It is advisable to advise parents to use the experience of the child’s artistic and theatrical activities acquired in a preschool institution. This increases the child's self-esteem. (S.A. Kozlova, T.A. Kulikova).

Theatrical games provide great scope for the child’s creative expression. They develop children’s creative independence, encourage improvisation in composing short stories and fairy tales, and support children’s desire to independently search for means of expression to create an image using movements, posture, facial expressions, different intonation and gesture. Dramatization or theatrical production represents the most frequent and widespread type of children's creativity. This is explained by two main points: Firstly, a drama based on an action performed by the child himself, connects most closely, effectively and directly artistic creativity with personal experience, and secondly, it is very closely related to the game. Creative abilities are manifested in the fact that preschoolers combine different events in the game, introduce new, recent ones that made an impression on them, sometimes include episodes from fairy tales in the depiction of real life, i.e. create a game situation. In theatrical activities, actions are not given ready-made. Literary work only suggests these actions, but they still need to be recreated with the help of movements, gestures, and facial expressions. The child chooses his own means of expression and adopts them from his elders. The role of words is especially important in creating a game image. It helps the child identify his thoughts and feelings, understand the experiences of his partners, and the emotional expressiveness of the plot (L.V. Artemova, E.L. Trusova). L.V. Artemova distinguishes games - dramatization and director's games.

In director's play, the child is not an actor, he acts as a toy character, he himself acts as a screenwriter and director, controls the toys or their deputies. “Voicing” the characters and commenting on the plot, he uses different means of verbal expression. The predominant means of expression in these games are intonation and facial expressions; pantomime is limited, since the child acts with a stationary figure or toy. An important feature of these games is the transfer of functions from one object of reality to another. Their similarity with director's work is that the child comes up with mise-en-scène, i.e. organizes the space, plays all the roles himself, or simply accompanies the game with an “announcer” text. In these games, the child director acquires the ability to “see the whole before the parts,” which, according to the concept of V.V. Davydov, is the main feature of imagination as a new formation of preschool age.

Directing games can be group games: everyone leads the toys in a common plot or acts as the director of an impromptu concert or play. At the same time, experience of communication, coordination of plans and plot actions is accumulated. L.V. Artemova offers a classification of director's games in accordance with the variety of theaters (tabletop, flat, bibabo, finger, puppets, shadow, flannelgraph, etc.).

1.3 Conditions for the successful development of creative abilities.

One of the most important factors in the creative development of children is the creation of conditions conducive to the formation of their creative abilities. Based on an analysis of the works of several authors, in particular J. Smith /7, 123/, B.N. Nikitin /18, 15, 16/, and L. Carroll /9, 38-39/, we have identified six main conditions for the successful development of children’s creative abilities.

The first step to the successful development of creative abilities is early physical development baby: early swimming, gymnastics, early crawling and walking. Then early reading, counting, early exposure to different tools and materials.

The second important condition for the development of a child’s creative abilities is the creation of an environment that advances the development of children. It is necessary, as far as possible, to surround the child in advance with such an environment and such a system of relationships that would stimulate his most diverse creative activities and would gradually develop in him exactly what is capable of developing most effectively at the appropriate moment. For example, long before a one-year-old child learns to read, you can buy blocks with letters, hang the alphabet on the wall, and call out the letters to the child during games. This promotes early reading acquisition.

The third, extremely important, condition for the effective development of creative abilities follows from the very nature of creative process, which requires maximum effort. The fact is that the ability to develop the more successfully, the more often in his activities a person reaches “the ceiling” of his capabilities and gradually raises this ceiling higher and higher. This condition of maximum effort is most easily achieved when the child is already crawling, but cannot yet speak. The process of understanding the world in this time is running very intense, but the baby cannot take advantage of the experience of adults, since it is still impossible to explain anything to such a small child. Therefore, during this period, the child is forced more than ever to engage in creativity, to solve many completely new problems for him on his own and without prior training (if, of course, adults allow him to do this, they solve them for him). The child's ball rolled far under the sofa. Parents should not rush to get him this toy from under the sofa if the child can solve this problem himself.

The fourth condition for the successful development of creative abilities is to provide the child with great freedom in choosing activities, in alternating activities, in the duration of one activity, in choosing methods, etc. Then the child’s desire, his interest, and emotional upsurge will serve as a reliable guarantee that greater mental stress will not lead to overwork and will benefit the child.

But providing a child with such freedom does not exclude, but, on the contrary, presupposes unobtrusive, intelligent, friendly help from adults - this is the fifth condition for the successful development of creative abilities. The most important thing here is not to turn freedom into permissiveness, but help into a hint. Unfortunately, hinting is a common way for parents to “help” their children, but it only hurts the matter. You cannot do something for a child if he can do it himself. You can’t think for him when he can figure it out himself.

It has long been known that creativity requires a comfortable psychological environment and the availability of free time, therefore the sixth condition for the successful development of creative abilities is a warm, friendly atmosphere in the family and children's team. Adults must create a safe psychological basis for the child’s return from creative search and their own discoveries. It is important to constantly stimulate a child to be creative, show sympathy for his failures, and be patient even with strange ideas that are unusual in real life. It is necessary to exclude remarks and condemnation from everyday life.

But creating favorable conditions is not enough to raise a child with high creative potential, although some Western psychologists still believe that creativity is inherent in the child and that one should just not interfere with his free expression. But practice shows that such non-interference is not enough: not all children can open the way to creativity and maintain creative activity for a long time. It turns out (and pedagogical practice proves this), if you select the appropriate teaching methods, then even preschoolers, without losing the originality of creativity, create works that are more high level than their untrained self-expressing peers. It is no coincidence that children’s clubs and studios are so popular now, music schools and art schools. Of course, there is still a lot of debate about what and how to teach children, but the fact that it is necessary to teach is beyond doubt.

Nurturing children's creative abilities will be effective only if it represents a purposeful process, during which a number of private pedagogical tasks are solved, aimed at achieving the final goal. And in this work, based on a study of literature on this topic, we tried to determine the main directions and pedagogical tasks for the development of such essential components creative abilities such as creative thinking and imagination in preschool age.

1.4. The role of the influence of theatrical activities as a means of developing the creative abilities of preschool children

Children's creative abilities are manifested and developed on the basis of theatrical activities. This activity develops the child’s personality, instills a sustainable interest in literature, music, theater, improves the skill of embodying certain experiences in play, encourages the creation of new images, and encourages thinking. There is a problem that concerns many teachers, psychologists, and parents: some children experience fears, breakdowns, and lethargy, while others, on the contrary, become loose and fussy. Children often lack voluntary behavior skills and have underdeveloped memory, attention and speech. The shortest path to emotional liberation of a child, removal of constriction, learning to feel and artistic imagination is the path through play, fantasy, and writing. Theatrical activities can provide all this. Being the most common type of children's creativity, it is dramatization that connects artistic creativity with personal experiences, because theater has enormous power impact on the emotional world of the child.

Theatrical activities create conditions for the development of creative abilities. This type of activity requires from children: attention, intelligence, speed of reaction, organization, the ability to act, obey a certain image, transforming into him, living his life. Therefore, along with verbal creativity, dramatization or theatrical production is the most frequent and widespread type of children's creativity.

This is explained by two main points: firstly, drama based on an action performed by the child himself most closely, effectively and directly connects artistic creativity with personal experience.

As Petrova V.G. notes, theatrical activity is a form of experiencing life experiences that lies deep in the nature of children and finds its expression spontaneously, regardless of the wishes of adults.

In dramatic form, a complete circle of imagination is realized, in which an image created from elements of reality embodies and realizes again into reality, even if it is conditional. Thus, the desire for action, for embodiment, for realization, which is inherent in the very process of imagination, finds full fulfillment precisely in theatricalization.

Another reason for the closeness of the dramatic form for a child is the connection of any dramatization with play. Dramatization is closer than any other type of creativity, directly related to play, this root of all children's creativity, and therefore it is the most syncretic, that is, it contains elements of the most diverse types of creativity.

This is the greatest value of children's theatrical activities and provides the occasion and material for the most diverse types of children's creativity. Children themselves compose, improvise roles, stage some ready-made literary material. This verbal creativity children, necessary and understandable to the children themselves. Making props, scenery, and costumes provides an opportunity for children's visual and technical creativity. Children draw, sculpt, sew, and all these activities acquire meaning and purpose as part of a common plan that excites children. And finally, the game itself, consisting of the presentation of the characters, completes all this work and gives it full and final expression.

Theatrical activities allow you to solve many problems in the kindergarten program: from familiarization with social phenomena, formation of elementary mathematical knowledge of physical perfection.

The variety of themes, means of representation, and the emotionality of theatrical activities make it possible to use them for the purpose of comprehensive personal development and the development of creative abilities.

And skillfully posed questions in preparation for theatrical activities encourage them to think and analyze quite difficult situations, draw conclusions and generalizations. This helps improve mental speech. In the process of working on the expressiveness of the characters’ remarks and their own statements, the child’s vocabulary is imperceptibly activated, “the sound side of speech is improved.” The new role, especially the dialogue of the characters, confronts the child with the need to express himself clearly, distinctly, and intelligibly. His dialogical speech and its grammatical structure improve, he begins to actively use the dictionary, which, in turn, is also replenished.

Artistic expressiveness images, sometimes the comic nature of characters enhance the impression of their statements, actions, and events in which they participate.

Children's creativity in these games is aimed at creating a game situation, at a more emotional embodiment of the role they have taken on.

This contributes to the development of creative abilities, which is manifested in the fact that preschoolers combine different events in the game, introduce new, recent ones that made an impression on them, and sometimes include episodes from fairy tales in the depiction of real life.

In theatrical activities, actions are not given ready-made. A literary work only suggests these actions, but they still need to be recreated with the help of movements, gestures, and facial expressions.

The child chooses his own means of expression and adopts them from his elders

The role of words is especially important in creating a game image. It helps the child identify his thoughts and feelings, understand the experiences of his partners, and coordinate his actions with them. Children see the world around them through images, colors, and sounds. Kids laugh when the characters laugh, feel sad and upset with them, can cry over the failures of their favorite hero, and are always ready to come to his aid.

The theme and content of theatrical activities, as a rule, have a moral orientation, which is contained in every fairy tale. The child begins to identify himself with his favorite image, transforms into it, lives his life; this is the most frequent and widespread type of theatrical activity as the development of children's creativity. Since positive qualities are encouraged and negative ones are condemned, children in most cases want to imitate kind, honest characters. And adults’ approval of worthy actions creates satisfaction in them, which serves as an incentive to further control their behavior. The large and varied influence of theatrical activities on a child’s personality allows them to be used as a strong but unobtrusive pedagogical tool, since the child himself experiences pleasure and joy. The educational possibilities of theatrical activities are enhanced by the fact that their topics are practically unlimited. She can satisfy diverse interests children.

The tasteful design of the performance has an aesthetic impact on children. The active participation of children in the preparation of attributes and decorations develops taste and fosters a sense of beauty. The aesthetic influence of theatrical games can be deeper: admiration for the beautiful and disgust for the negative evoke moral and aesthetic experiences, which, in turn, create an appropriate mood, emotional uplift, and increase the vitality of the children.

The organization of children's artistic and creative activities in a kindergarten is facilitated by the presence of various corners organized in the kindergarten group (musical, theater areas, etc.). This is due to the characteristics of preschool age and, above all, the leading activity - play.

Children's creative impulses naturally manifest themselves in the spontaneously occurring play of being musicians, artists, and painters. However, practical workers preschool institutions There are many methods for indirectly guiding independent musical and creative activities, as well as forms of working with children in the process of musical classes of various types, including greatest interest represents linear, inductive-deductive, contrastive and interpenetrating.

The formation of a child’s creative personality occurs especially effectively in the context of the implementation of theatrical activities. Theatrical activities form children's ability for emotional empathy, develop creative activity, and their executive abilities. Theatrical activities are aimed at solving the problems of moral and aesthetic education.

Using the data provided in the materials on the socio-emotional development of children, we propose the content and methodology for conducting classes on theatrical activities.

- viewing puppet shows and conversations on them;

- dramatization games;

- preparing and acting out various fairy tales and dramatizations;

- exercises to develop expressiveness of performance (verbal and non-verbal);

- selected ethics exercises;

- exercises for the social-emotional development of children.

Classes in theatrical activities perform a number of functions: cognitive, educational and developmental. Their task is not only to prepare for performances. The content, forms and methods of conducting these classes should pursue the simultaneous fulfillment of three main goals:

- development of speech and theatrical performance skills;

- creating an atmosphere of creativity;

- social-emotional development of children.

Under no circumstances should any pressure, comparison, evaluation, or condemnation be applied. On the contrary, it is necessary to provide children with the opportunity to speak out and show inner activity. The teacher must strictly ensure that with his acting activity and looseness he does not suppress a timid child and does not turn him only into a spectator. We must not allow children to be afraid to go “on stage” or to be afraid of making mistakes. It is unacceptable to divide into “artists” and “spectators,” that is, those who constantly perform and those who constantly stay to watch others “play.”

It should be emphasized that the more complete and emotional the perception of works, the higher the level of theatrical activity. In accordance with this, the teacher faces two main tasks:

- understand, figure out what the child feels, what his experiences are aimed at, how deep and serious they are;

- help the child express more fully, show his feelings, create special conditions in which assistance to the characters of the works can unfold.

Classes in theatrical activities can include both acting out fairy tales and skits, as well as role-playing dialogues based on illustrations, and independent improvisations on topics taken from life.

Classes in theatrical activities are held in two directions:

1 children mastering the basics of acting in the process of performing exercises of a creative nature;

2 mastery by children techniques, characteristic of various types of theatrical art.

Creative development the personality of a preschooler occurs in the process of systematic and personally significant introduction to theatrical art and involves the consistent complication of educational material in accordance with the personal experience of the pupil, which ensures the child’s organic entry into the multifaceted world of theater.

In the process of implementing a set of classes on theatrical activities, the following tasks are solved:

- development of creative abilities and creative independence of a preschooler;

- nurturing interest in various types of creative activities;

- mastering improvisational skills;

- development of all components, functions and forms of speech activity;

- improvement of cognitive processes.

M. Makhaneva’s article “Theatrical Activities of Preschool Children” recommends a lesson plan for theatrical activities.

Classes are mainly structured according to a single scheme:

- introduction to the topic, creating an emotional mood;

- theatrical activities (in various forms), where the teacher and each child have the opportunity to realize their creative potential;

- emotional conclusion, ensuring the success of theatrical performance.

In order for all children to be involved in the work, it is recommended to use a variety of techniques: children choosing a role at will; assigning the most timid, shy children to the main roles; distribution of roles on cards (children take from the hands of the teacher any card on which a character is schematically depicted); playing roles in pairs.

During classes it is necessary to: listen to the children’s answers and suggestions; if the children do not answer, do not demand an explanation, but proceed to action with the character; when children meet the heroes of works, set aside time so that they can act or talk with them; in conclusion, in various ways to bring joy to children.

Greatest effect provide methods for developing creativity such as: creative task; posing a problem or creating problematic situation; creation of a creative field; transition of the game to another, more complex creative level; exercises; sketches.

Thus, in theatrical activities, initiative, flexibility and independence of thinking, and creativity of children are encouraged. The development of creative abilities in the context of theatrical activities contributes to the overall psychological development, the possibilities of moral and aesthetic influence on children by teachers. Theatrical activity is a variable system that allows you to form the ability to analyze and synthesize, emotional experiences, development creative activity children. Theatrical activities make it possible to comprehensively influence children verbally and non-verbally, effectively solve the problems of moral and aesthetic education, enrich the emotional sphere, and activate speech activity and corrects deviations in different areas mental activity.

II . Practical part.

I have been involved in theatrical activities with children of senior preschool age for a relatively short time, this is my second year. Theatricalization is included in the scenarios of holidays and entertainment ( New Year based on the fairy tale "Cinderella").

Seeing the children’s genuine interest in playing roles, I wanted something more, and the idea was born to create a theater club based in the kindergarten. Developed a work plan.

Work in the “Straw Hat” circle is carried out with children of senior preschool age and includes 5 sections.

1 section - "Theatrical game". The work of this section is aimed at developing play behavior, aesthetic feelings, a creative attitude to business, and the ability to communicate with peers and adults in various life situations.

"Attentive nesting dolls"

Target . Develop attention, coordination of actions, activity and endurance.

Progress of the game . Children sit on chairs or a carpet, the teacher shows cards with a certain number of drawn matryoshka dolls. After a few minutes he says: “One, two, three - freeze! " There should be as many children standing as there are nesting dolls on the card (from 2 to 10). The exercise is difficult because at the moment of completing the task, no one knows who exactly will be “rising” and how many there will be. The readiness of everyone to stand up (if there are not enough “matryoshka dolls”) or sit down immediately (if he sees that there are more people standing up than necessary) effectively influences each child. As an option, children can be asked not just to stand up, but to form a round dance of a given number of children.

Special theater games - develop mainly imagination and fantasy, prepare children for action in stage conditions, where everything is fiction. Imagination and faith in this fiction are the main thing distinguishing feature stage creativity.

" Birthday"

Target. Develop skills in acting with imaginary objects, cultivate goodwill and contact in relationships with peers.

Progress of the game. Using a counting rhyme, a child is selected and invited to the “birthday party.” Guests come one by one and bring imaginary gifts. With the help of expressive movements and conventional play actions, children must show what exactly they decided to give.

It is better if there are few guests, and the remaining children will first play the role of spectators, assessing the authenticity of the show. Then they can switch roles. On initial stage The easiest way to play games is with gifts - toys: a jump rope, a ball, a doll, a car, a soft toy, a construction set, etc. As creativity develops, “gifts” can be very diverse: a box of chocolates, a ball, a scarf or hat, a book or a felt-tip pen, and even a “live” cat.

Section 2 – “Rhythmoplasty”. Includes complex rhythmic, musical, plastic games and exercises designed to ensure the development of natural psychomotor abilities of preschoolers, their acquisition of a sense of harmony of their body with the outside world, the development of freedom and expressiveness of body movements.

"SCULPTOR"

Target. Develop imagination and fantasy, improve the plastic capabilities of the body, the ability to act with a partner.

Progress of the game. Children are divided into pairs. One child takes on the role of the Sculptor, and the other takes on the role of plasticine or clay. Sculptors are invited to sculpt a non-existent fantastic creature, come up with a name for it and tell where it lives, what it eats, what it loves, how it moves. In the future, you can invite the creature to come to life and start moving. Then the children change roles.

Section 3 "Culture and technique of speech." These are games and exercises aimed at developing breathing and freedom of the speech apparatus, the ability to master correct articulation, clear diction, varied intonation, and logic of speech. Here are games with words that develop coherent speech, creative imagination, the ability to write short stories and fairy tales, select rhymes.

"Funny Poems"

Target. Train clear pronunciation of consonants at the end of words, teach children to select rhymes for words.

Progress of the game. Children select a sentence that rhymes with the given syllables.

Oot-ut-ut-ut - flowers are blooming in the meadow,

Yut-yut-yut-yut - the birds sing merrily,

Yat-yat-yat-yat - these are mosquitoes ringing,

It-it-it-it - the hare is sitting under a bush.

Oh-oh-oh-oh-oh-

Uh-uh-uh-uh-

Section 4 "Fundamentals of theatrical culture." This section is intended to provide conditions for preschoolers to acquire basic knowledge and concepts, and professional terminology of theatrical art. Systematizes children's knowledge about theater in accordance with their age. This chapter includes consideration of 5 main topics:

Features of theatrical art.

Types of theatrical art.

The birth of the performance.

Theater outside and inside.

Culture of behavior in the theater.

Section 5 "Working on the play" - is auxiliary, based on the author’s scripts and includes the following topics:

Introduction to the play.

From sketches to performance.

Basic rules of the section:

do not overload children;

do not impose your opinion;

do not allow other children to interfere with the actions of others;

provide all children with the opportunity to try themselves in different roles, without distributing them among the most capable.

Based on work experience, we can distinguish 10 main stages of working with preschoolers on a play.

Stage 1 - choosing a play or dramatization and discussing it with children. Invite the children to compose the lives of the characters in the play first, helping various questions. In the process of working on the play " Swan geese"The following questions arose:What games did your friends play with Nastenka? Why does Baba Yaga need little children? Why didn't Ivanushka hide from the geese?

Stage 2 - dividing the play into episodes. Children retell each episode and come up with a name for it. For example: “departure of parents”, “kidnapping of a child”, “meeting with an apple tree”, etc.

Stage 3 – this is work on individual episodes in the form of sketches with improvised text. First, the most active children become participants, and gradually all members of the team become involved in the process. Feeling the support of the teacher, children act naturally and confidently, and their speech becomes more varied and expressive.

Stage 4 – searching for a musical and plastic solution for individual episodes, staging dances (if necessary), creating sketches of scenery and costumes together with the children.

Stage 5 - transition to the text of the play: the passage is repeated many times by different performers, which allows children to quickly learn all the roles. The circumstances of each episode are clarified (where, when, at what time, why ) and the motives of behavior of each character are emphasized (For what? for what purpose? ). Children evaluate the performance of different performers, and the teacher identifies 2-3 performers who can cope with a specific role.

Stage 6 - this is work on the role. You cannot impose on children the logic of another person’s actions or your own images; children play themselves, based on personal emotional experience and memory, recalling situations from their lives when they had to experience feelings similar to those of the hero. It is very important to achieve interaction with partners, the ability to listen and listen to each other and change your behavior accordingly.

Stage 7 – rehearsals of individual scenes of the play in different casts. Children should not repeat the poses, gestures, and intonations of other performers, but look for their own variations. Learn to position yourself around the stage without crowding together or blocking each other.

Stage 8 – rehearsals of the entire play take place (1-3 times) using scenery prepared for the performance, props and props, costume elements that help in creating the image. The rehearsal is accompanied by musical accompaniment. During the rehearsal process, the tempo of the performance is clarified, and the responsibilities of children in preparing props and changing scenery are assigned.

Stage 9 - dress rehearsal in costumes. The first spectators are teachers - strict and objective.Premiere – children begin to understand in practice what the collective nature of theatrical art is, how the success of the performance depends on the attention and responsibility of each performer. And only the next day in conversation it becomes clear how critically children can evaluate their successes and failures. The teacher tries to point out mistakes and shortcomings, but at the same time praise the children and note successful and interesting points speeches.

Stage 10 – final. These are reruns of the play with different casts. The teacher’s task is to reveal the child’s individuality and teach him to find his own means of expression. To ensure that interest in activities does not wane, so that children see meaning in each of them and can implement the knowledge gained, a theatrical production is undertaken. This serves as motivation and gives the prospect of showing off the acquired skills in front of an audience. The text of the plays chosen for work is the basis for classes in both speech development and stagecraft. A performance is gradually created from games and sketches. Working on it brings children together, gives them the idea of a sense of partnership and mutual assistance, relieves constraint, and speeds up the process of mastering skills. public speaking, helps you “step over” “I’m shy” and believe in yourself. And the main thing is a holiday, emotions, delight from participating in a play, because acting in fairy tales is both difficult and incredibly interesting.

I conduct classes in the music room. To perform creative tasks we use piano and audio equipment. Lightweight clothing and always Czechs. The lesson is held once a week for 30 to 40 minutes.

Theater games are designed for Active participation a child who is not just a passive follower of instructions, but an accomplice in the pedagogical process. During the lesson, I strive to achieve a productive result through collective creativity. I celebrate and encourage every successful creative decision, I strive to instill self-confidence in children.

Building classes different scenarios depending on factors such as class time, weather conditions, mental condition children. They can start with musical or non-musical plastic exercises or games, or with fun tongue twisters.

In the first year of classes, the primary goals were the ability to control one’s body, coordinate movements, navigate in space, and coordinate one’s actions with partners.

"Ants"

Target . Learn to navigate in space, move around the site without colliding with each other. Move at different paces. Attention training.

Progress of the lesson . When the teacher claps, the children begin to move chaotically around the hall, without colliding with other children, trying to fill the free space.

In that academic year I set more complex tasks for preschoolers: increase the number of exercises and creative tasks, increase the requirements for the quality of their execution. When conducting classes, I try to create a fun and relaxed atmosphere, encourage stressed and constrained children, and do not focus on mistakes and mistakes.

Working on a role is a labor-intensive and lengthy process, requiring the teacher to special attention, the ability to think outside the box, creatively, use the child’s capabilities in work, encourage him creative manifestations. It goes roughly like this.

Introduction to staging. What is it about? What are the main events in it?

Getting to know the heroes - a verbal portrait of the hero: fantasizing about his lifestyle, relationships with other heroes, his favorite foods, games, actions.

Inventing various situations from the hero’s life that were not included in the dramatization.

Analysis of invented actions

Working on stage expressiveness: definition characteristic movements, character gestures, places on the stage, definition of facial expressions, intonation.

Preparation of theatrical costume.

Using makeup to create an image.

Dress rehearsal.

Play.

During classes, children play, create, create, and enjoy the process, especially since each of them plays exactly who he wants. The fact of the matter is that without spectators we all wonderful actors. But how will a little artist behave in exciting moments, when the hall is silent and the same children are looking at him, and most importantly - dad, mom, grandmother, grandfather... After all, he wants to show them what he can do, what he is capable of. From a timid boy or a capricious girl, he turns into a hero. How my children’s eyes glow with happiness and self-esteem - they are applauded! Parents applaud.

Much attention I focus on interaction with parents. I talk with them, ask them to attend children’s performances whenever possible, and discuss with the children before the performance the specifics of the role that he will play. After the performance, discuss the result with the child, note achievements and identify ways for further improvement.

I suggest parents help them act out their favorite fairy tale at home. Talk in the presence of the child about his achievements. Tell your child about your own impressions received as a result of watching plays, films, etc.

Gradually, the child develops an understanding of theatrical art, a specific “theatrical perception” based on communication between a “living artist” and a “living spectator.”

Conclusion

The result of all the painstaking work is the finished performance.Development creative possibilities- a process that permeates the entire development of a child’s personality.

At the same time, the result of the child’s speech and communication development is monitored.

Expected skills and abilities by the end of the year:

Be able to voluntarily tense and relax separate groups muscles.

Orientate yourself in space, evenly positioning yourself around the site.

Be able to collectively and individually transmit a given rhythm in a circle or chain.

Perform simple physical actions freely and naturally on stage.

Master a complex of articulation gymnastics.

Be able to change the pitch and strength of the voice according to the teacher’s instructions.

Be able to pronounce tongue twisters and poetic texts in motion and in different poses

Know and clearly pronounce 4-6 tongue twisters at different rates out loud, in a whisper and silently.

Be able to build a dialogue on a given topic, choosing your own partner.

Be able to write a story on behalf of the hero.

Be able to coordinate your actions with other children, find contact in relationships.

Of course, if available certain conditions, systematic work, the inclusion of children in theatrical activities allows them to interesting form based on the leading activity - the game, expand your communicative experience and try it out in this activity. The child begins to feel, realizes that there is no one truth for everyone, the child learns to respect other people’s opinions, to be tolerant of different points of view, learns to transform the world, using fantasy, imagination, and communication with people around him. A thinking, feeling, loving and active person is formed, ready for creative activity in any field.

Bibliography

G.V. Lapteva “Games for the development of emotions and creativity.” Theater classes for children 5-9 years old. S.-P.: 2011

I.A. Lykova " Shadow theater yesterday and today" S.-P.: 2012.

I.A. Lykova “Theater on Fingers” M. 2012

E.A. Alyabyev “Thematic days and weeks in kindergarten"M.: 2012

O. G. Yarygina “Workshop of Fairy Tales” M.: 2010.

A.N. Chusovskaya “Scripts for theatrical performances and entertainment” M.: 2011.

L.E. Kylasova “Parent meetings” Volgograd: 2010.

E.V. Lapteva “1000 Russian tongue twisters for speech development” M.: 2012.

A.G. Sovushkina “Development fine motor skills(finger gymnastics).

Artemova L.V. “Theatrical games for preschoolers” M.: 1983.

Alyansky Yu. “ABC of theatre” M.: 1998.

Sorokina N. F. “Playing puppet theater”M.: ARKTI, 2002.

E.V. Migunova “Theatrical pedagogy in kindergarten”. Methodological recommendations. M.: 2009.

G.P.Shalaeva " Big Book rules of conduct" M.: 2007.

A.G. Raspopov “What kind of theaters are there” Publishing house: School press 2011

Migunova E.V. Organization of theatrical activities in kindergarten: Educational method. allowance; Veliky Novgorod, 2006.

N.B. Ulashenko “Organization of theatrical activities. Senior group" Publishing and trading house Volgograd 2009

Annex 1

GESTURES

(means of expression)

Come here. Extend your arm forward with your palm turned up, and then swing it towards you.

Leave. Bend your arm in front of your chest, with your hand turned with your palm facing away from you, and swing your arm away from you.

Agreement. Nod your head once or twice (affirmative).

Disagreement. Shake your head from side to side (denial).

Request. The arm is extended forward with the palm facing up. The weight of the body is transferred to the front of the feet. The neck and body are directed forward.

Refusal. The arm is extended forward, with the hand placed vertically. The palm is turned away from you, the body is tilted back, the head is turned to the side.

Cry. Cover your face with your hands, tilt your head forward down, raise your shoulders, your shoulders shake.

Weasel. Stroke the shoulder softly, gently, looking into the eyes.

Cry. The palm is applied as a “horn” to the slightly open mouth, the body is moved towards the “sound” being sent.

Greetings. The right arm is raised up, swinging the hand from side to side.

Parting. The eyes are fixed on the person leaving, the body is tilted forward; smooth swinging movements of the raised right hand.

Invitation. The right hand is moved to the side, the palm opens, the head turns behind the hand.

Gratitude. The palms folded together are pressed to the chest, the elbows are apart, the head is tilted forward.

Indignation. Outrage: “What is this!”

Don't know. Raise your shoulders, arms slightly apart, palms open.

Appendix 2

TONGUE TWISTERS

Four turtles have four turtles.

Dear Mila washed herself with soap.

Lena ate and ate, she didn’t want to eat out of laziness.

The beaver is good for the beavers.

Cook Pavel, cook Peter. Pavel soared, Peter baked.

Valerik ate the dumpling, and Valyushka ate the cheesecake.

Kondrat's jacket is a little short.

Palikarp's catch was three crucian carp, three carp.

The cat caught mice and rats, the rabbit gnawed a cabbage leaf.

The wet weather turned soggy.

In the mornings, my brother Kirill fed three rabbits grass.

There are daisies at the gate, three snails crawled up to them.

Three magpies were chattering on the hill.

A weaver weaves fabric onto a Tane scarf.

From the stomping of hooves, dust flies across the field.

Our Polkan fell into a trap.

The lazy red cat lay on his stomach.

The beetle, buzzing over the puddle, waited until dinner for the snake.

The hedgehog bear, the hedgehog and the hedgehog were scared.

Centipedes have too many legs.

Cuckoo bought a hood.

The mice dried the dryers, the mice invited the mice, the mice began to eat the dryers, the mice broke their teeth.

The wasp settled on the nose, I will take the wasp to the branch.

Whey from yogurt.

Six little mice rustle in the reeds.

Senka is carrying Sanka and Sonya on a sled.

Sasha sewed a hat for Sasha.

Sasha walked along the highway and sucked on a dryer.

Grass in the yard, firewood on the grass.

Appendix 3

DICTIONARY OF THEATER TERMS

Proscenium - the space of the stage between the curtain and the orchestra or auditorium.

Actor – active, acting (act-action)

Amphitheater – seats located behind the stalls.

Intermission – the interval between the actions of the play.

Applause - approving claps.

Poster – announcement of the performance.

Props – items specially manufactured and used instead of real things in theatrical productions(dishes, weapons, jewelry)

Makeup – face painting, the art of giving a face the appearance required by an actor for a given role.

Scenery (lat.) - decoration; artistic design for action on the theater stage.

Dialogue - conversation between two or more persons.

Gesture – movements of the hands and head, conveying feelings and thoughts.

Backdrop – a painted or smooth background made of soft fabric suspended at the back of the stage.

Pocket – the side of the stage, hidden from the viewer.

Backstage – vertical strips of fabric framing the sides of the stage.

Mise-en-scene- stage placement, the position of actors on stage at a certain moment.

Monologue – speech of one person, thoughts out loud.

Paduga – horizontal strips of fabric limiting the height of the stage.

Wig - false hair.

Parterre – seats for spectators below stage level.

Director - acting manager, distributing roles; the person directing the production of the play.

Props – items that are genuine or fake, necessary for the actors during the course of the play.

Repertoire – productions, going on in the theater at a certain period of time.

Rehearsal- repetition, preliminary performance of the performance.

Theater - a place for spectacle.

Foyer – room in the theater that serves as a resting place for spectators during intermission.

Appendix 4

Games aimed at developing creativity

Musical Theatre

Age: 6-7 years.

Purpose of the game: to awaken in children a sustainable interest in musical creativity.

Necessary equipment: recording of music by E. Tamberg “Dance of the Witch”.

Progress of the game. The game is played with a group of children. The players' task is to try to convey the content and mood of the music through pantomime. The child who shows himself most vividly and emotionally during the game receives the title of People’s Artist.”

Players are invited to listen to the play and try to convey its content using movements, gestures and facial expressions. For a more successful entry into the image, poetic lines characterizing fairy tale character musical work.

Witch spell

No dust, path,

Don't make noise, grass.

Shut up, birds,

Don't thunder, thunderstorm!

Don't you blow, the winds

Sun, don't shine.

All living creatures on earth,

Freeze for a moment!

The hour for spells has finally arrived!

I'll prepare a potion

Witch's decoction...

My brew will bubble and foam. - All the world's evil will fall on people!

Note: If they wish, the children themselves can colorfully illustrate E. Tamberg’s music by coming up with their own plot for it.

Dreamers

Age: 7 years.

Purpose of the game: to develop imagination and improvisation skills in children.

Necessary equipment: recording of Y. Slonov’s music “Dance with Umbrellas”.

Progress of the game. Before starting the game, an adult (music director, teacher or educator) asks the children if they know who the dreamers are. Explains to them that the word “fantasy” translated from Greek means “imagination.” Therefore, dreamers are people with a rich and vivid imagination. The guys are asked next question: Do they know how to fantasize? If the children answer this question with a unanimous “Yes!”, there is no need to hesitate any longer, you must immediately begin to explain the conditions of the game. The main task of the players is the ability to bring their fantasies to life.

The presenter says: “Imagine that one warm and sunny day in May, suddenly it started raining for no reason at all! Sometimes things like this happen in May. This kind of rain is popularly called blind. During the long, cold winter, we have so missed the warm spring rain. Why don’t we take a little walk, or better yet, dance right in the rain, and even barefoot?! Don't forget to take umbrellas with you...”

Then the children read the poem in chorus.

Cheers cheers,

Spring came!

We are glad, glad to the sun,

We don't care about rain!

Let's take an umbrella with us,

By umbrella, by umbrella

And we will dance

Through puddles barefoot...

Music by Yu. Slonov sounds. The guys perform their improvised dance.

Note. This game can have its own continuation: an adult invites the children to realize their fantasies in drawings, applications, designs, stories, fairy tales, poems, etc.

We will show you what we can do

Age: 6-7 years.

Purpose of the game: the game is aimed at developing collective creativity skills.

Necessary equipment: musical accompaniment.

Progress of the game. The teacher, who is also the host of the impromptu concert, says that at music lessons children learned to sing and move correctly and beautifully. Now is the time to demonstrate your knowledge and skills. In an impromptu concert, the children perform songs, ditties, songs and dances that they know. The players' task is to amaze the audience with their professionalism and artistry. Children act as both amateur performers and spectators.

The teacher, in the role of presenter, announces the first number, calling the last name and full name little artist. After each performance, as expected, there is applause from the audience.

For example, one of the concert numbers could be a performance by matryoshka girls who will perform their funny ditties for the guys.

Educator.

Here are the funny nesting dolls,

They love to sing and dance.

The guys invited them

To perform on your holiday.

Matryoshka dolls (in chorus). We'll wave our handkerchiefs,

Let's stamp our heels together.

Eh, once! Again!

Let's start dancing!

Impromptu dance of Matryoshka dolls.

When the dance ends, all the Matryoshkas, except the last, youngest, leave and sit down in their places.

Little doll.

And I am the little sister,

She is a master of singing ditties.

I won't leave the stage

Until I sing a ditty.

When I grow up a little,

I'll go straight to school.

I will sing, dance,

Visit discos.

My dear mother,

Do not worry about me.

I'm a fighting girl

Everything, mommy, is all about you!

I'll walk in front of you

Yes, I will bow three times (Bows on three sides).

I would still perform

Yes, I’m suddenly tired;

When I get some rest,

I'll start singing songs again!

Eh, once! Again!

I've been on stage for an hour!

Thank you for your attention,

See you soon!

The little girl runs away skipping. To lose, all the Matryoshkas come out to bow.

Rose- this is a classic. A flower of extraordinary beauty will not leave anyone indifferent. Is it possible to draw it so that the drawing looks like the real thing? A professional, of course, can do this, but can a beginner cope? Thanks to our tips, you can draw a flower of amazing beauty yourself!

In this article we will look at two options for drawing a rose:

1. How to draw a rose with a pen.

2. How to draw a rose with a pencil.

How to draw a rose step by step?

So, let's begin!

1. Let's start with the outline. Draw a circle clearly irregular shape at the top of the leaf and a slightly curved stem.

2. Now let's outline the bud in the middle of the rose. Divide the bud into 2 parts. In the picture, this part of the picture is drawn in blue. Outline the future petals with light strokes. And outline the bud like the top of a cylinder.

3. Now detail the petals. It is not necessary to repeat everything, as in our drawing; you can show your imagination and add other elements.

4. Add a couple of petals on the stem. Choose the number yourself so that your rose acquires its own individuality. Draw the bud more clearly, drawing line by line.

5. Rose leaves have small veins, so add them to the drawing as well. Now erase the excess elements and carefully draw the petals. Make the outline at the top consisting of two lines. It will look like the petals are slightly bent.

6. Now the rose is ready. Now you just need to finish drawing the shadow, which will give the drawing volume. Imagine that one of the sides is illuminated and then you will understand which side to darken. In the recesses of the petals the shadow should be denser. After that, simply rub the pattern with your finger.

7. If you have colored pencils or paints, you can decorate the flower. To do this, be sure to use a shadow effect so that the drawing does not end up flat.

8. So, having learned how to create one flower, you can make a whole bouquet. To do this, draw roses different sizes and from different angles, this will give the drawing a natural look.

Creative people are always looking for ideas and try their hand at different areas. Some people sculpt from clay, others felt toys from wool, and these are not always people who have received a special art education. Often these people try to draw, but don’t know which way to approach this process. For example, how to draw roses correctly. The flower is beautiful, but has many petals, and the task seems simply overwhelming.

In this lesson we will tell you how to draw a rose easily. Let's try to lay out each petal on paper step by step, and if you cope with this task, any other flower will no longer be a problem for you.

I would like to immediately clarify what the colored lines in the diagrams mean. Red, blue and grey colour- these are contours to make steps easier to perceive. The blue color will indicate the outline that has already been drawn, and the red color will indicate your next step that you will need to take. And gray, already the color of your creativity, with a simple pencil you will model the petals using light and shadow.

Let's figure out how to draw roses correctly and what we need for this

Paper - the thicker the better.
Simple pencils of different hardness.
Eraser.
Knife or sharpener for sharpening pencils. In the process, you will need a pencil with a sharp, thin lead.
Living nature - rose. This is for those who like to overcome difficulties.

Rose, before your eyes.

Step 1

Start your drawing with a sketch of the bud, it should resemble a cocoon. Each next step will be adding petals. You must “dress” this bud with petals.

Step 2

Now draw the middle of the flower and start drawing the next petals. Of course, you can simply copy the drawing, or you can use your imagination, make the petals larger or smaller.

Step 3

When you finish drawing, move on to the leaves underneath. The leaves should be characteristic of roses, sharp and slightly prickly at the tips.

Step 4

And now it's time for something spicy and soft pencil. With light movements, begin to model the petals and leaves, casting a shadow. This should be done starting from the middle, and gradually move from leaf to leaf. You need to draw everything very carefully and slowly.

How to draw roses correctly? This question is very creative, everyone draws as they see and as they understand. And if you take it seriously, and you plan to do it, then you will need to study the basics of drawing, human anatomy, or at least leaf through biology textbooks and encyclopedias more than once. Only then will your drawing become conscious. And at the initial level, you are engaged in copying your own content. Don't be afraid to make mistakes and do something wrong, you have an eraser with which you can fix everything. Every great artist I started by copying paintings and from the most basic basics.

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Photo gallery: How to draw a rose with a pencil

Rose - beautiful flower, loved by many. That is why it is the object of close attention among artists. There are several ways to draw a rose with a pencil step by step. For beginners, we suggest using step-by-step instructions.

Step-by-step instructions for drawing a rose with a pencil

Before you draw a rose or other flowers with a pencil, you need to familiarize yourself with certain recommendations.

To draw a flower correctly, you don’t have to graduate from art school or acquire any special skills. It is enough to stock up on desire and patience. And talent can be revealed in the process of drawing.

Before you draw beautiful rose, it is advisable to practice depicting individual elements of flowers. This will help you get better and gain some experience. In addition, as you know, pencils vary in hardness, this should be taken into account at different stages of drawing.

The main thing in drawing is to concentrate on the details. Before you start drawing, it's best to spend some time studying the drawing you're using as an example. It is important to think through every detail in order to achieve beautiful flowers.

And if you want to learn how to draw at a level close to a professional one, regular classes are necessary.

On a note! Before you start drawing a rose with a pencil, it is advisable to watch instructional videos. Drawing lessons will help you master the basic fundamentals. For example, you will be able to understand how shading and sketching are done, paper is selected, and shapes and contours are drawn correctly.

Instruction 1: how to draw a rosebud

Since the bud is the most complex element flowers, you should first learn to draw it. You can draw it with a pencil step by step as follows.

First you need to draw the top part of the rose bud. It is not completely dissolved, so it is presented in the form of a spiral. It is enough to draw it as in the photo.
Then you need to move a space down from the spiral and draw the first rose petal. It's horizontal.
The upper part of the rose bud must be connected to the horizontal petal with straight lines.
On last stage You should give the flower bud volume by drawing the side petals. Depending on how many there are, the degree of looseness of the rose depends.

The whole drawing process can be seen step by step in the photo.

Instruction 2: how to draw an unblown rose

To draw an unopened rosebud, you will need to complete several simple steps.

First you need to draw the base of the rosebud. To do this, you need to draw a small semicircle. It is from this that the stem will stretch.
The flower bud should be placed on this base. You need to draw an arc, as in the photo below.
A rose bud is surrounded by petals. They should be drawn step by step, gradually increasing the volume of the flower.
Then you need to draw a stem coming from the base of the rose bud. You can also depict several leaves surrounding the petals of the flower.

How to draw an unblown rose with a pencil step by step is shown in the photo. You can add or remove petals as desired, adjusting the splendor of the bud.

Instruction 3: how to draw a beautiful rose with a stem

Here's another way to draw a rose with a pencil step by step.

First you need to draw a circle and a stem coming from it. It is represented by two winding lines. You need to draw a horizontal oval above the circle.
Next, you need to connect the circle and the oval with a pencil using two wavy lines. This will be the rosebud. On both sides of the circle you need to draw two more winding lines. It is from them that flower petals are created.
Leaves should be added to the stem.
Inside the oval, carefully draw a spiral using a pencil.
The drawing is almost ready. All that remains is to erase the line of the circle inside the rosebud with an eraser, and also make shading with a soft pencil.